SKU: HL.44001320
UPC: 073999729801. 6.75x10.5 inches.
SKU: HL.44001831
UPC: 073999018318. 6.75x10.5 inches.
Suite 1800 bildet die Fortsetzung der ebenfalls von Jan de Haan erschienenen Werke Suite 1500 und Suite 1600. Das Werk basiert auf drei schone Melodien von Robert Schumann: Soldatenmarsch (aus op. 68), An den Sonnenschein (aus op. 36) und Geburtstagsmarsch (aus op. 85).
SKU: BT.DHP-0920375-015
Suite 1800 bildet die Fortsetzung der ebenfalls von Jan de Haan erschienenen Werke Suite 1500 und Suite 1600. Das Werk basiert auf drei schöne Melodien von Robert Schumann: Soldatenmarsch (aus op. 68), An den Sonnenschein (aus op. 36) und Geburtstagsmarsch (aus op. 85).
SKU: BT.DHP-0920375-030
SKU: BT.DHP-0870087-030
SKU: HL.44001318
UPC: 073999013184. 6.75x10.5 inches.
SKU: BT.DHP-0870087-015
SKU: BT.DHP-0870087-020
SKU: CA.9114219
ISBN 9790007232436. Key: D major. Language: all languages.
Score and parts available separately - see item CA.9114200.
SKU: M7.BP-2816
ISBN 9790015281600.
Die Sechs Sätze der 1951 entstandenen Suite, mit abwechselnd lyrischem und tänzerischem Charakter, präsentieren sich als Unterhaltungsmusik im besten Sinne des Wortes.
SKU: PR.114402010
UPC: 680160005093. 8.5 x 11 inches.
SKU: PR.114402660
UPC: 680160005703.
SKU: PR.114409510
UPC: 680160014262.
SKU: PR.114402130
UPC: 680160005215. 8.5 x 11 inches.
SKU: PR.166000290
ISBN 9781491136164. UPC: 680160039968. Key: D major.
SKU: PR.114407260
UPC: 680160011209.
Ports of Call, a suite of five movements for two violins and guitar was written for the Trio Triento for their New York debut. Composed in the Summer of 1992, it was premiered in April 1993. 1992 was the 500th anniversary of the 1492 expulsion of the Jews from Spain and, of course, Columbus' trip to America. To commemorate these important events, I was commissioned by organizations in 20 major cities to write an oratorio. The result was Ever Since Babylon. The musical material was greatly influenced by tunes from around the Mediterranean region. These Sephardic melodies took on treat meaning for me, and I took five of them and expanded them into these five pieces which are actually dances. I felt that the combination of two violins and guitar lent itself well as a vehicle for this music. The names of the cities are used because the tunes originated in these particular locations. Marseille, a typical provencale dance with naturally changing meters and a light, airy, touch. Alexandria, much more mysterious and languid, reflecting the heat and inertia of that glorious city in slow though sometimes steady movement. Salonika, a wild dance in typical Greek fashion celebrating a holiday with abandon. The whirling movement goes relentlessly from beginning to end. Haifa is represented by two beautiful chant-like pastoral tunes which introduce the beauty and luminous quality of this, one of the most beautiful parts in the Eastern Mediterranean. Valencia, the last, a tribute to medieval Spain. The music is a culmination of the influences of the three great cultures, Moslem, Christian, and Jewish, which flourished there for hundreds of years. It is an uplifting dance with just a tinge of sadness in the center, since the Golden Age of which the tune was a part, had come to a tragic end in 1492. --Samuel Adler.
SKU: PR.166000240
ISBN 9781491114506. UPC: 680160039883. 9 x 12 inches.
SKU: PR.144404260
UPC: 680160030460.
In 1999, while packing up myriad boxes to move to a new home (following academic retirement from Eastman School of Music), I stumbled-literally-over a short string suite of five vignettes I had composed during the 1950's as a college freshman. They had never been performed. I decided to transcribe them for the American Saxophone Quartet following a request from that august ensemble. Other than slightly lengthening the first ditty to accommodate an imperious alto sax which thinks it can play ALL of the 4-part fugal entries itself, I made few changes from the original youthful version. The first four movements each feature one of the quartet members as a leading voice, the others largely accompanying; everyone shares the wealth in the final dance. The whole piece is very tonal (with centers on A, D, E, G and D respectively) and make copious use of a jazz/pop music ambience that was prevalent in my first-year-conservatory world at the time. The five Snippets are approximately twelve minutes in duration and are affectionately dedicated to my long-standing friend, the saxophone virtuoso Albert Regni. The work was complete in 1954 in Rochester, New York and transcribed in Ormond, Florida, during the summer of 2000. The American Saxophone Quartet, founded by Mr. Regni, gave the premiere performances in New York City. --Sydney Hodkinson.
SKU: PR.144404340
UPC: 680160030583.
SKU: PR.164001780
UPC: 680160037056.
The American imagist poet Amy Lowell (1874-1925) provided both the title and the substance for this brief descriptive work in her poem Night Clouds. I had been commissioned by the flute/harp duo Chaski to write a piece that had a different sound than most flute and harp pieces. The image of these elusive beasts cavorting through the night, before the appearance of the tiger sun, seemed to me perfectly suited for the flute and harp and would give me the chance to write a work for that combination that did NOT have overtones of nymphs and shepherds. I wanted to make much use of the harp's more violent sounds (beating the strings and the soundboard, for instance) as well as its unusual and idiomatic effects, such as pedal glissandi. For the flute, there are jet-whistle effects, extremes of register, pitch-bending and other decidedly non-pastoral gestures. The work was composed in 1986. --Dan Welcher.